Contents

Ellis researched murders at the New York Public Library. His first draft of American Psycho left all the grisly scenes until last, to be added in later. In 2010, to one interviewer, Ellis commented:

“

[Bateman] was crazy the same way [I was]. He did not come out of me sitting down and wanting to write a grand sweeping indictment of yuppie culture. It initiated because of my own isolation and alienation at a point in my life. I was living like Patrick Bateman. I was slipping into a consumerist kind of void that was supposed to give me confidence and make me feel good about myself but just made me feel worse and worse and worse about myself. That is where the tension of American Psycho came from. It wasn't that I was going to make up this serial killer on Wall Street. High concept. Fantastic. It came from a much more personal place, and that's something that I've only been admitting in the last year or so. I was so on the defensive because of the reaction to that book that I wasn't able to talk about it on that level.[6]

Set in Manhattan during the Wall Street boom of the late 1980s, American Psycho follows the life of wealthy young investment banker Patrick Bateman. Bateman, in his late 20s when the story begins, narrates his everyday activities, from his recreational life among the Wall Street elite of New York to his forays into murder by night. Through present tensestream-of-consciousness narrative, Bateman describes his daily life, ranging from a series of Friday nights spent at nightclubs with his colleagues — where they snort cocaine, critique fellow club-goers' clothing, trade fashion advice, and question one another on proper etiquette — to his loveless engagement to fellow yuppie Evelyn and his contentious relationship with his brother and senile mother. Bateman's stream of consciousness is occasionally broken up by chapters in which he directly addresses the reader in order to critique the work of 1980s pop music artists. The novel maintains a high level of ambiguity through mistaken identity and contradictions that introduce the possibility that Bateman is an unreliable narrator. Characters are consistently introduced as people other than themselves, and people argue over the identities of others they can see in restaurants or at parties. The question of whether any of the crimes depicted in the novel actually happened or whether they were simply the fantasies of a delusionalpsychotic is only perpetuated further by the cinematic adaptation.[7]

After killing Paul Owen, one of his colleagues, Bateman appropriates his apartment as a place to host and kill more victims. Bateman's control over his violent urges deteriorates. His murders become increasingly sadistic and complex, progressing from simple stabbings to drawn-out sequences of torture, rape, mutilation, cannibalism, and necrophilia, and his grasp on sanity begins to slip. He introduces stories about serial killers into casual conversations and on several occasions openly confesses his murderous activities to his coworkers, who never take him seriously, do not hear what he says, or misunderstand him completely—for example, hearing the words "murders and executions" as "mergers and acquisitions." Bateman begins to experience bizarre hallucinations such as seeing a Cheerio interviewed on a talk show, being stalked by an anthropomorphic park bench, and finding a bone in his Dove Bar. These incidents culminate in a shooting spree during which he kills several random people in the street, resulting in a SWAT team being dispatched in a helicopter. This narrative episode sees the first-person perspective shift to third-person and the subsequent events are, although not for the first time in the novel, described in terms pertaining to cinematic portrayal. Bateman flees on foot and hides in his office, where he phones his attorney, Harold Carnes, and confesses all his crimes to the answering machine.

Later, Bateman revisits Paul Owen's apartment, where he had earlier killed and mutilated two prostitutes, carrying a surgical mask in anticipation of the decomposing bodies he expects to encounter. He enters the perfectly clean, refurbished apartment, however, filled with strong-smelling flowers meant, perhaps, to conceal a bad odor. The real estate agent, who sees his surgical mask, fools him into stating he was attending the apartment viewing because he saw an "ad in the Times" (when there was no such advertisement). She tells him to leave and never return.

At the end of the story, Bateman confronts Carnes about the message he left on his machine, only to find the attorney amused at what he considers a hilarious joke. Mistaking Bateman for another colleague, Carnes claims that the Patrick Bateman he knows is too much of a coward to have committed such acts. In the dialogue-laden climax, Carnes stands up to a defiant Bateman and tells him his claim of having murdered Owen is impossible, because he had dinner in London with him a few days before, not once but twice.

The book ends as it began, with Bateman and his colleagues at a new club on a Friday night, engaging in banal conversation. The sign seen at the end of the book simply reads "This is not an exit"

According to Hunter, American Psycho is largely a critique of the "shallow and vicious aspects of capitalism."[8] The characters are predominately concerned with material gain and superficial appearances, traits indicative of a postmodern world in which the 'surface' reigns supreme. This leads Patrick Bateman to act as if "everything is a commodity, including people,"[9] an attitude that is further evident in the rampant objectification of women that occurs in the novel. This distancing allows Bateman to rationalize his actions,[10] in one anthropophagic scene, Bateman remarks "though it does sporadically penetrate how unacceptable some of what I'm doing actually is, I just remind myself that this thing, this girl, this meat, is nothing..."[11]

Patrick Bateman's consumption of what he views as nothing more than a piece of meat is an almost parodically literal interpretation of a monster created by consumer culture. This, combined with sex, violence, drugs, and other desires of the id, is how Bateman realizes his base urges in a superficial world.[12]

Alison Poole – Sexually assaulted by Bateman; created by Ellis' friend Jay McInerney in his novel Story of My Life[13] and based on McInerney's former girlfriend Rielle Hunter; reappears as a main character in Ellis's later novel Glamorama, where she is involved with the lead character, Victor Ward.

The book was originally to have been published by Simon & Schuster in March 1991, but the company withdrew from the project because of "aesthetic differences". Vintage Books purchased the rights to the novel and published the book after the customary editing process. The book wasn't published in hardcover in the United States until 2012, when a limited hardcover edition was published by Centipede Press,[14] although a deluxe paperback was offered.[15] Ellis received numerous death threats and hate mail after the publication of American Psycho.[16][17]

In Germany, the book was deemed "harmful to minors", and its sales and marketing were severely restricted from 1995 to 2000. In Australia, the book is sold shrink-wrapped and is classified "R18" under national censorship legislation. The book may not be sold to those under 18 years of age. Along with other Category 1 publications, its sale is theoretically banned in the state of Queensland and it may only be purchased shrink-wrapped. In Brisbane, the novel is available to those over 18 from all public libraries and can still be ordered and purchased (shrink-wrapped) from many book stores despite this prohibition.[18]Bret Easton Ellis has commented on this, saying "I think it's adorable. I think it's cute. I love it."[19][20] In New Zealand, the Government's Office of Film & Literature Classification has rated the book as R18. The book may not be sold or lent in libraries to those under 18 years of age. It is generally sold shrink wrapped in bookstores. In Canada, the book generated renewed controversy during the trial of serial killerPaul Bernardo after it was discovered that Bernardo owned a copy of the book and had "read it as his 'bible'."[21]

It polarized audiences and critics with some showering praise, others scorn.[25] Upon its theatrical release, however, the film received positive reviews in crucial publications, including The New York Times which called it a "mean and lean horror comedy classic".[26] Author Bret Easton Ellis said, "American Psycho was a book I didn't think needed to be turned into a movie," as "the medium of film demands answers," which would make the book "infinitely less interesting."[27] The film currently holds a 67% "Fresh" rating on Rotten Tomatoes.

A direct-to-videospin-off, American Psycho 2 was released and directed by Morgan J. Freeman. This spin-off was not based on the novel or the original film, as its only connection with the original is the death of Patrick Bateman (played by Michael Kremko wearing a face mask), briefly shown in a flashback.

In 2009, Audible.com produced an audio version of American Psycho, narrated by Pablo Schreiber, as part of its Modern Vanguard line of audiobooks.[28] A Hungarian version of the novel was written by Attila Hazai (1967-2012) called Budapesti skizo ("Budapest Psycho", 1997); it was Hazai's best known work but as of his death never translated into English.[29]